Saturday, 27 June 2009

B.S. Johnson

http://www.bsjohnson.info/

also see
Mitchell, W.J.T (1986) Iconology: Image, Text, Ideology Chicago: University of Chicago,

Friday, 26 June 2009

we were making collages with texts and images for a Finger Forest Zine all evening.
day later in the studio I've started to make sculptures collaging objects
Suddenly it started to make sense

Wednesday, 24 June 2009

Contemporary culture can no longer be seen as a single totality, but as an interrelated network – described as an archipelago. It is both unified and separated: an example of the relationship between one and many. Islands of thoughts and forms are clustered together, yet they may not have a total ‘continental’ definition. Artists are not only crossing national borders but also breaching the traditional artistic borders of form and medium. Trangressing these borders, artists link mediums and forms, geographies and time periods.

Nicolas Bourriaud, Altermodern: Tate Triennial, Tate Publishing, 2009 (p13-14).

Painting borders / Живопись граничит

(свежая, новая, молодая) заграничная живопись /границы пограничники заграничники

обозначение территории/ (abstract paining) mapping the terrain

www.youngart.ru

аполена аполена

Sunday, 21 June 2009

Find>read>think

TALKING PANTING by David Ryan

and perhaps

Critical perspectives on contemporary painting

By Jonathan P. Harris, Tate Gallery Liverpool

size matters?

Martian Gardener paintings started as a series of small paintings (around 20). the sizes are 19x24 up to 42x 59cm ) Drawing inspiration from Russian Icons these paintings are very much the objects, they sat well in hand,(painted on printed textiles stretched over recycled boards)the weight of the boards and the colorful fabric seen on the side gave them the object like presence. The lines are thin and the layers of paint are delicate and almost transparent.
I've decided to make a bigger work (around 120 -160 cm) and almost immediately felt that the way I've painted the small boards does not work on a bigger scale. On a bigger scale delicate lines and thin layers looked more like architectural draft , dry and boring. the bigger painting have stepped outside the well crafted, sacred object category and lost it's presence. The bigger scale needed painting 'to happen' to become more physical, raw, bold... painterly....

count it as a failure?!.....

Friday, 19 June 2009

Michel Serres’ ideas on noise/clamour . Serres writes about ‘fuzzy logic’ but ‘mess’ is increasingly being cited as a new paradigm in research methodology and is being transposed to other disciplines and creative practices. See John Law, After Method : Mess in Social Sciences Research, 2004

Thursday, 18 June 2009

since end of May working on a black series;

black marker on dozens (30?) postcards 10x15cm +15 A3 posters.

wish I could get hold of the big posters( 200 sm high) from the boxes on the street.

Another wish is to be able to print them like that. Silkscreen? he-he very complicated...

thinking about trans post human continued

reading Susan Sontag "Illness as Metaphor and Aids and its Matephors"

"Illness is the night-side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick. Although we all prefer to use only a good passport, sooner or later each of us is obliged, at least for a spell, to indentify ourselves as citizens of the other place."

Maybe technology eventually will be able to prevent any illnesses. Could that be that Sontag's dual citizenship is one of the most basic characteristics of a human?